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Aggressively priced:The lightweight HC-HD300 has a full range of
features for studio or OB use
Camera tracking and motion capture SolidAnim By David Fox
Low-cost HC-HD300 system camera Ikegami Electronics
By David Fox
The new Ikegami HC-HD300 is a compact and “aggressively- priced” HD shoulder mountable camera covering a wide range of broadcast and non-broadcast applications. It has three 1/3-inch CMOS
progressive-scan sensors, with a 1/3-inch bayonet lens mount, and outputs 1920x1080 50i or 59.94i, 1280x720 50p or 59.94p, plus NTSC and PAL. It offers 58dB signal-to-noise ratio and 2,000 lux sensitivity at F10 for 59.94i or F11 for 1080/50i.
Opinion Addressing the fragmented media landscape
The broadcast services business is now about the logistics of getting content from A to B says Christine Jecko, vice president of Marketing, Globecast
The global media landscape is becoming ever more fragmented. Instead of delivering content to one big audience all watching the same programme at the same time via the same technology, broadcasters now have to cater for lots of smaller audiences watching at different times and on different devices. We’ve moved from delivering content in the form of a linear channel to a handful of handover points for onwards distribution to consumers, to a model that involves hundreds of handover points and a mixture of linear feeds and non- linear packages for catch-up and on demand services. While viewing audiences are now more fragmented, the actual overall numbers have stayed more or less the same. However to reach them, the
40 theibcdaily
process of delivering content has become hugely complex. Offering content via new platforms and devices is necessary just to retain existing audiences. This content also has to be localised to meet the needs of audiences in different territories; it’s all about ensuring content is relevant to viewers which, in turn, makes monetisation far more achievable This is, of course, the ultimate business aim. Controlling the cost of delivery has now become increasingly important. As each audience fragment may be small it can be the case that even very large broadcasters don’t have the critical mass for each delivery type in order to commission, build and support their own infrastructure. Economies and flexibility of managed services are critical.
The broadcast services business is no longer just about supporting linear channels with playout and delivery services; it’s about the logistics involved in getting content from wherever it’s coming from to wherever it’s going to. That involves all the preparatory steps before it can be broadcast or streamed in some way. It’s a case of managing that media through often complex, multi-party workflows and enabling internal and external specialists, wherever they may be geographically, to collaborate in preparing the content for broadcast and ultimately packaging the content and deliver it to consumer platforms. When broadcasters have multiple channels in multiple territories, delivered both as a
linear and on-demand service, this can be a very complex process, involving multiple providers, multiple compliance requirements and handover to local affiliates. Delivering the content to multiple VoD platforms means that for each of these outlets a specific package needs to be prepared and delivered. Broadcast service providers like ourselves now need to offer clients expertise in handling both linear broadcast and on- demand services and the ability to manage and localise content for individual territories. It’s also essential to provide broadcasters with the right mix of technical expertise, highly experienced staff and in-depth knowledge of complex content workflows, enabling them to handle the legal and technical complexities associated with
delivering localised content across multiple regions and platforms. It’s important to recognise that there’s been a shift in the balance of power to the viewer. As an industry as a whole we all need to work together to provide the best possible viewer experience from content discovery through to quality of delivery, manage technical complexity to remain
competitive and above all fight for the time and attention of our audience. As content consumption becomes less linear, the competition for audience eyeballs is something we all need to address. 1.A29
The HC-HD300, which should ship in December, weighs 4.5kg including the newly developed FA-300 fibre adapter. Operating voltage range is 11v to 16v and power consumption (excluding FA-300) is 19W. Features include the focus assist and lens aberration correction functions from Ikegami's UnicamHD cameras.
Options include the FA-300 and BSF-300 base station. The HC-HD300's output cable is fitted with a Neutrik opticalCon Duo connector for protection against dust. Up to 250m of cable can be connected direct to the camera. 11.A31
SolidAnim has a new version of SolidTrack, its realtime camera tracking system for recording camera moves and data logging those moves on a virtual set. It is claimed to offer simple yet versatile markerless camera tracking and to have the flexibility to be used both indoors and outdoors with the same high quality results. “Compared to traditional shooting methods producers save approximately 30% time on a film or television show utilising SolidTrack,” the company claimed. Its latest features mean it
can now be used wirelessly, with an even smaller (4cmx3cm), lighter (120g) 120fps survey camera, and is also now compatible with Linux (as well as Windows Pro 7).
SolidAnim also has face and body motion capture systems to capture performance in realtime, with up to 10 actors
simultaneously. It offers two capture services: Facial motion capture with markers and a new markerless capture system using its proprietary technology, SolidFace.
It claims to be the first company to offer combined realtime camera tracking with motion capture. SolidAnim systems have been used on Martin Scorsese’s Hugo Cabret,
On track: The markerless tracking system SolidTrack adds virtual character in real time
Cosmos: A Spacetime Odyssey, and Da Vinci’s Demons. SolidTrack is also being demonstrated on the Hybrid TV stand (9.C33), alongside its virtual reality, virtual set and robotics products. 11.E40d
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